Still using DVX100

GaryMM

GaryMM

Member
With the release of the HPX170 due sometime soon, I'm wanting to say that I'm still using our great camera the DVX100. Yes it's without the 'A' or 'B' and I've loved it from the beginning. Most of you reading this may well have had your hands on a DVX since they first appeared, but I know no-one else in my part of the UK that owns one.

I've looked at 'upgrading' - moving up to another camera like the HVX200 or and EX1 as HD is now becoming a desireable factor in shooting, even if you distribute work as standard definition - but have resisted the move. The reason? - The DVX can still deliver the goods for our work, at the moment that is. I believe cinematography to be at the haert of any film, corporate, feature, short or otherwise and happen to beieve that good cinematography is possible with any reasonable camera.

So why haven't I moved on to an HVX200? Simply because it feels like a bigger 'halfway house' camera and I would rather not spend a few thousand on something that goes a little further than a camera that I love using.

And the reason for considering an EX1? Simple...no standard definition, a codec that I don't want to work with (my video card doesn't support it) despite the pin sharp images and a fantastic bit of glass on the front end, it's a bag full of money for yet another format.

And the HPX170? I'm very interested in this little camera as this could be the real replacement for the DVX or should I say first camera to my second camera the DVX100.

If you are planning on getting started with video do not overlook the DVX, it is a great camera. If you want to checkout some of my work with this camera take a look at either:

http://www.assemblageproductions.co.uk

or

http://www.assemblageproductions.co.uk/eura/rome_conferencefilm/

Practically all the footage contained in the showreels was shot using the DVX and all the Rome conference film was shot using this camera.

Any comments or thoughts you guys might have about the work are gratefully received.

Gary
 
Im so glad I have switched over yet. I was playing around with my smaller, "consumer" (I think its a bit more than just consumer) HD camera and my DVX and and I was doing some pretty good video matching. Im using Final Cut Pro and quite pleased with the picture I can turn out.
 
These shots look great. You mentioned that no one in your part of the UK owns a dvx. Is it because they're hard to find or is it that everyone has moved on to something newer?
I was also wondering if you shot most of what is on the website in 24p? With lighting kits?
 
Great Job

Great Job

I looked at the Demo reel and it was outstanding. I sold my DVX100 and have missed it every day. But what you did on that reel shows what a great camera it was...and still is.

Thanks
 
For the assemblage project. Would you mind talking a little about your camera settings to get that to look so good. Also, lighting or any other tips to get that kind of quality? Thanks.....
 
Answers to questions

Answers to questions

Thanks to all for the responses and the enquiries. I will answer all of them so far:

elegato - 'no one in your part of the UK owns a dvx. Is it because they're hard to find or is it that everyone has moved on to something newer?' Many users/camera services/broadcasters prefer Sony kit. It's often thought of as being the kit of the professionals and is often qouted as being more robust. Cameramen/women often choose Sony over Panasonic because many of the programme commissioners here will specify the precise kit that they want used and nothing else will do. I've also found that professional camera people don't like menus on the smaller cameras - they prefer knobs and buttons on the outside!

I was also wondering if you shot most of what is on the website in 24p? With lighting kits? Almost all of the shots on the reels is the result of natural or available light. The exceptions are a couple of shots on the conference and event reel where we had to set up some make-shift lighting (vox pop heads to camera with light/coloured backgrounds) and the girl throwing the boomerang, which we shot in a photographic studio and lit for white out.

Patapoo - Would you mind talking a little about your camera settings to get that to look so good. Also, lighting or any other tips to get that kind of quality? Camera settings - I know there has been many a discussion about this subject, so the following are my thoughts based on things that work for me:

I have three set ups depending on the available light conditions when I'm shooting. All three hinge around the gamma setting with a little variation in the other settings. I've altered 3 of the factory settings to suit me and the set ups are as follows:

25BRI - To brighten low light scenes like evening/night, low level artificial light, interior etc.
Detail level -4
Everything else set to 0
Gamma HIGH
Skin Tone ALWAYS OFF
Matrix Cine-Like
V detail THICK
Progressive 25P

25P - For brightly lit scenes where there is a a consistent strong light source (like the sun!).
Detail level -4
Chroma Level/Phase/Colour temp 0
Master Ped -1
A.Iris level -1
Gamma CINE-LIKE
Skin Tone ALWAYS OFF
Matrix Cine-Like
V detail THICK
Progressive 25P

25NOR - For flatly lit scenes, like very overcast exterior, or interior lacking directional light
Detail level -4
Everything else 0
Gamma NORM
Skin Tone ALWAYS OFF
Matrix Cine-Like
V detail THICK
Progressive 25P

It's all pretty straightforward as what I'm wanting is predictably usable footage that's even in exposure and colour balance. I keep the camera set on 25P at all times ( there is one exception that I'll explain in a moment) and have arrived at the above settings after a great deal of trial and error. The combination of the gamma, master pedestal and auto iris setting, help me arrive at an image that I like. That is a range of tones, good colour and a predictable camera response to any given situation. I will on occasion shoot the same thing with two diffrent settings if I'm not sure which is likely to yield the best result.

The one and only exception to all of the above is when there just isn't enough light for the 25P, which is likely to be either night scenes or interior with very low-light (candlelight, conference projection etc) in which case I just shoot on the factory scene 1 setting which is normal interlaced video. You get more sensitivity but an interlaced image that just needs deinterlacing when edited into 25P footage.

Other tips:
1. I try and think like a photographer. It may be video, but nothing can replace good choice of subject, composition and the framing of subject.

2. I have 100% zebras on all the time - just to indicate the 'hot' areas in the shot.

3. Expose for the subject and always adjust manually if it's just looking wrong. Use the zebras to bring a sunny shot with shadows in a little in under overexposure. Relying on the auto iris will result in shadows being to dark, especially if you use tthe ND filters.

4. Always do a white balance, particularly for mixed light sources.

5. Check your footage on any reliable available TV or monitor. When I shoot abroad I take a variety of cables and connectors with me so I can hook up to any in room TV to look through the day's shoot.

I hope all of this helps. Thanks for the appreciative comments again.
 
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